What are the things that fascinated you after watching the Karnan movie?

 

1. The movie is a “Writer Maris” film, focused on a theme (a village suffering from Bus Connectivity) and then a “Director Mari” film.
2. The movie is very much watchable, like his previous film “Pariyerum Perumal”.
3. The Songs are good; each has a story in it. Many you tubers shot / remade “Pandarathi Puranam” in their own understanding.
4. The art Director took pains to take you 25 years before- brought obsolete, KTC (Kattabomman Transport Corporation), Chidhambaranar District to live.
5. It has shown “Kanni Deivam” appearing in dreams and guiding them- how Losing a child have an impact on its parents.
6. Like Pariyerum Perumal, the film ends with a reality of bringing Change lies with a society at large. 10 years is a long time, and introduction of “Sitrundhus all over TN” is the time healer of bus connectivity to the village. But “Nothing Changed”.
7. If you are comparing “Dhanush”s movies of “Karnan” with “Asuran”, it is better than Asuran.

Overall Karnan (2021) addressed the situation at a village before 25 years in a flow, enjoyable filmy way.

Now the regrets.

1. The film could have avoided, unwanted scenes of attacking unknowns or communal topics in a subtle way.
2. By mentioning “Oor Kudumban” he explicitly told the one community village is of Pallar or Devendra Kula Vellalar (DKV) community.
3. It is unfortunate that it is shown, this Devendra Kula Vellalar community adores villain characters like Duryodhan, Ravan and ridicules Kannapiran, Raman from epics - in reality it may not be so, as it is normally used by other scheduled community. Asking Fathers name of Duryodhanan and Kannapiran, and related scenes look highly awkward in the film.
4. Throughout the film, unattached scenes of animals were shown several times and occupied heavily, only to give a message in certain events. Those animals are meant to show “filmy” way and you may take it as a Director’s Punch. There is a dilemma in showing Donkey (Vannan), Elephant (Pagan), Horse (Bhai gifting away!!!) in a one community village.
5. Irrelavance of worshipping headless Chinnamasthan. Devendra Kula Vellalars are native Tamils, but Directors like Vetrimaran and Mari Selvaraj wanted to project them repeatedly as “Migrant Sudhras from Bihar during 3–7th century” is a shame on entire community.

Overall a Good film to watch.

What, according to you, can be the reason for the dateline of “Podiyankulam” caste riot being shown as “late 1990s” in Mari Selvaraj’s Karnan?

 

1. Karnan (2021) is an enjoyable film in theatre- visuals, songs, story, acting of Dhanush, Natarajan, village elders and Direction.
2. Though, Many supporting actors, including heroine(s)(3) do not fit into village environment- the Director, Cameraman, Art Director, Music Director (has he stolen a song from a folk artist*) took the film to next level with the help of villagers, animals and birds.
3. *(Tit bit: “Karnan Kandaa Vara Sollunga” song is a "Stolen" one from Thekkampatti Sundarajan, a village artist. The family claims that starting from Vaira Muththu, many Tamil writers have stolen his songs for last 3 decades without giving any monetary royalty. The family does not know how to take legal course).
4. It is based on lack of bus connectivity to a village and related issues resulting into Police law and order atrocities.
5. It is an one community village. No where Mari Selvaraj has shown explicitly “the caste riot”.

As usual, it is the media (especially Sri Lankan reporters in BBC Tamil) connecting this film into “Kodiankulam” (near Ottappidaram) caste riots, happened in 1995. Director Mari may be a Kid at that time. It is noted that Political Parties tread carefully on this sensitive matter. It is the wilful agenda of a certain media houses to bring back the happenings- Not with a good intention.

Kodiankulam riots had many angles, (other than caste, Administration) the way in which it spread across the district. Rioters used bombs, weapons in those riots, stored in Kodiankulam from other Countries in South East Asia and Middle East. That was a new culture in TN since late eighties. Many lost their lives, homes, business across the district.

One can enjoy it as a Film.

And we do not know, whether Media houses review it as an entertainment or dig the past, connecting the dots, with a bad taste.

Is Dhanush’s new movie Karnan up to the level of Asuran?

 OK. You are comparing “Dhanush”s movies of “Karnan” with “Asuran”.

It is better than Asuran.

However “Karnan” is a Director’s film and it is logical to compare with “Pariyerum Perumal”

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1. The movie is very much watchable, like “Pariyerum Perumal”.
2. This time, the movie addressed Government Administration (Police, District …) to a pathetic level and show how in TN State, South is treated step motherly treatment in creating Government Infrastructure- whether it is Mookka or Amma.
3. Though it is based on a village suffering from Bus connectivity, the situation does not fair well good in towns and cities as well in Southern Districtsas.
4. Passengers bound for Virudhunagar, Sattur, Kovilpatti have been at the mercy of crew of Tamil Nadu State Transport Corporation (TNSTC) buses – both bypass riders and non-bypass riders – attached to the Madurai and Tirunelveli divisions for long.
5. They created New Bus Stands in Virudhunagar, Sattur, Kovilpatti, 20 years before, far away from town, in dark lands, where women fear to stand and people literally stand on Highway in front of Bus Stand for boarding- TNSTCs never enter Bus Stands leading to accidents on Highway- they will go into town or not at the mercy of bus crew.
6. Successive “Amma” and “Mookka” Governments insensitive to their demands.

Karnan (2021) addressed the situation at a village in 2000 in a flow, enjoyable filmy way.

i it has shown kanni deivam appearing in dreams as prevalent in the region.

ii like Padiyerum Perumal, the film ends with a reality. 10 years is a long time, and introduction of “Sitrundhus all over TN” is the time healer of bus connectivity to the village. But “Nothing Changed”.

Only regret is that the film could have avoided, unwanted scenes of attacking unknowns or communal topics in a subtle way:

i.of asking Fathers name of Duryodhanan and Kannapiran.

ii.irrelavance of worshipping headless Chinnamasthan (by dalit migrants of North India near Kanchi), role of Pahan (elephant trainer of Kerala), Vannaan (owner of donkey), bhai gifting away his horse(!) in a “one community” village. Throughout the film, unattached scenes of animals were shown several times and occupied heavily, only to give a message in certain events. Those animals are meant to show “filmy” way and you may take it as a Director’s skill.

Overall a Good film to watch.